• I was exhaustive with iteration; reworking ideas and ways of using the brush and ink.
• Try different perspectives of the albatross on the person?
• These are techniques I have taken from my visual language sessions, feeding them into my
visual skills work and improving my image-making.
• I really like the texture of the brush that comes through, when working quickly,
and could scan these images into Photoshop to use in my final editorial pieces. Light box?
• Possible time constraints with this approach? I could instead install brushes that create the same effect.
Graphic Style:
• How do I want to translate my sketches to the screen? In a sketchy marker style or a soft, dry brush effect?
• After consideration, I don't think either of these work very well and will stick with a thicker, harder brush
to convey the silhouettes of these hard, plastic objects.
Composition Ideas:
• I experimented around with various possibilities with how my illustrations could be presented,
ensuring I maximised the amount space for such a small canvas.
ensuring I maximised the amount space for such a small canvas.
• I wanted to create a sense of continuity within my images so that they all coherently work together.
• How much detail do I want to include in my pieces? The very simplified colours are not attention-grabbing enough against the light blue background (left) whereas the gradient around the perimeter draws in the eye and the shading of the albatross gives it more weight.
• The orange back light on the objects gives them inclusivity into the illustration rather than just floating objects. The swishes on the albatross indicate that there is something inside them that shouldn't be (the plastic objects surrounding the silhouette).
• How much detail do I want to include in my pieces? The very simplified colours are not attention-grabbing enough against the light blue background (left) whereas the gradient around the perimeter draws in the eye and the shading of the albatross gives it more weight.
• The orange back light on the objects gives them inclusivity into the illustration rather than just floating objects. The swishes on the albatross indicate that there is something inside them that shouldn't be (the plastic objects surrounding the silhouette).
Brushes:
• I purchased the Gouache and Watercolour brush sets from Kyle Brush to add interesting line quality and an authenticity to the digital illustrations, rather than them being perfectly drawn and rendered on the computer.
• These enabled me to add visual interest, textural and painterly qualities to my editorials.
Colours:
• I played around with various colour palettes to ensure I was working a suitable one to communicate the article and its' contents.
• I originally began working with red and blue but found them too dark and boring.
• I changed to a dark blue and mossy green to communicate concepts of the Earth but found these too muddy. I wasn't happy with the strength of the tones against the brightness of the white characters (using copy as my third colour).
• Muted blue and orange shades worked much more harmoniously as variations of primary colours.
• I originally began working with red and blue but found them too dark and boring.
• I changed to a dark blue and mossy green to communicate concepts of the Earth but found these too muddy. I wasn't happy with the strength of the tones against the brightness of the white characters (using copy as my third colour).
• Muted blue and orange shades worked much more harmoniously as variations of primary colours.
Artist Research:
• Kelsey Heinrichs works a lot in editorial illustration, creating pieces for Wired Magazine, GQ, The Wall Street Journal and The National Post. He has a more digital approach to his process, which aesthetically is often technical and structured. He mixes a limited palette with sharp, thin outlines and visual language - such as cross hatching, lines and marks - with subtle shading. His compositions are strong, incorporating tiny details of shapes and objects.
• Jun Cen's portfolio is comprised almost entirely of editorial illustration. His work is a lot more organic, borderless giving a softer tone of voice, textural and patterned with a sense of motion / vibration. I hope to be able to incorporate these enticing elements into my own work. His illustrations have been featured in Nautilus Magazine, The New York Times, Spectrum News, The Boston Globe, Vogue and ELLE Men China.
• Sam Chivers encapsulates elements of both Jun Cen and Kelsey Heinrichs, successfully blending mark-making with the mechanical, the organic with the technical and digital with a sense of being hand-made at the same time. Chivers' editorial work has been featured in The Guardian, GQ, Adobe, Playstation, Washington Post, Wired Magazine and New Republic.
• All 3 of these illustrators have their own style, approach and tone of voice and each is successful in the themes and concepts they are communicating - using shape, form, composition and colour to portray characters, environments and architecture. I will be using these illustrators as my main point of reference when creating my developmental and final editorial outcomes.
• Kelsey Heinrichs works a lot in editorial illustration, creating pieces for Wired Magazine, GQ, The Wall Street Journal and The National Post. He has a more digital approach to his process, which aesthetically is often technical and structured. He mixes a limited palette with sharp, thin outlines and visual language - such as cross hatching, lines and marks - with subtle shading. His compositions are strong, incorporating tiny details of shapes and objects.
• Jun Cen's portfolio is comprised almost entirely of editorial illustration. His work is a lot more organic, borderless giving a softer tone of voice, textural and patterned with a sense of motion / vibration. I hope to be able to incorporate these enticing elements into my own work. His illustrations have been featured in Nautilus Magazine, The New York Times, Spectrum News, The Boston Globe, Vogue and ELLE Men China.
• All 3 of these illustrators have their own style, approach and tone of voice and each is successful in the themes and concepts they are communicating - using shape, form, composition and colour to portray characters, environments and architecture. I will be using these illustrators as my main point of reference when creating my developmental and final editorial outcomes.
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